Arturia Minifreak - Feature Overview and 3 Patches from Scratch!

video upload by Oscillator Sink

"The biggest little synth has arrived! The Minifreak is the grown-up and expanded sibling of the Microfreak, taking everything that made the Microfreak so compelling and adding *more of everything*.

In this video I provide an overview of the Minifreak's features and then get right into exploring them by way of building 3, very different, patches from scratch.

addendum - I say it's 8 voice polyphony in the video, that's incorrect, it's 6.

Transparency Notice: Arturia kinda provided this unit to me for free for the purposes of making videos. They have not asked for, neither have they been given, any editorial oversight into the contents of this video.

00:00:00 - Intro
00:02:37 - Feature overview
00:15:23 - Patch 1: Spacey pad, feat. LFO seqencer
00:38:00 - Patch 2: Physical modelling soundtrack, feat. oscillator stacking, FX
00:56:27 - Patch 3: Bass, feat. sequencer and macro controls
01:15:13 - Outro"

STUDIO ELECTRONICS MIDIMINI

Note: Auction links are affiliate links for which the site may be compensated.

via this auction, also on Reverb

"It is an analog monosynthe module that puts MIDI in minimoog and put it in 4 U rack size. The width of the sound making has been greatly expanded compared to the original minimoog such as oscillator sink, sweeper, etc, which is equipped with modulation dedicated LFO which can be blended with oscillator 3. Because we can control cutoff and volume of filter by velocity and after touch, expressive power is up. There are scratches in some places. There is a curvature of the rack ear in the upper left and the lower right. accessories Copy Japanese manual"

CLICK FOR MORE »

Why The King Korg Neo is Special (also let's make a patch from scratch on it)

video upload by Oscillator Sink

"The King Korg Neo is a synthesizer which is special to me.

In this video I’m going to explain why that is, talk about some of the things that I enjoy about this instrument and touch on some things which I think could be better, and then explore the sound and workflow of the synthesis engine by way of making a patch from scratch.

Chapters:
00:00:00 Intro
00:00:40 Why the KKN is special to me
00:04:02 Underestimating the synth
00:05:24 It's multi-timbral and that's good
00:06:33 Exploring the powerful oscillators
00:32:15 The filter is great (but could be even better)
00:36:37 Oscillator drift makes everything better
00:38:06 It's proper stereo
00:40:04 The stuff I don't like
00:40:15 The V-Patch is limited
00:43:07 The reverbs are disappointing
00:46:08 Let's make a patch from scratch
01:03:56 Outro"

Arturia Announces V Collection 5 Including New NED Synclavier Port, Hammond B3 and More

Published on May 19, 2016 ARTURIA - Update: new video uploaded May 30, 2016

Update: Clarification: the NED Synclavier is not an emulation but a port of the original software:

"this is not an emulation - it is the real thing, the real mccoy. Cameron Jones himself ported the original Synclavier code to run on PC/MAC/VST etc.

- you have the choice of playing each patch either in the original 8-bit depth, or change it to 4-bit (!), 10-bit, 12-bit, 14-bit, 16-bit, 18-bit, 20-bit, 22-bit or 24-bit depth.

- resynthesis: not implemented in the current release but there may be plans to put it in a future release. However some of the original factory patches included (83 total) are resynthesis-based

- the partials/timbre frame functionality was vastly expanded"

Video description:

"The new V Collection 5 is a giant leap forward in our quest to create the greatest legendary keyboards collection ever, including 5 new softwares instruments: Piano V, Synclavier V, B-3 V, Stage-73 V, Farfisa V.

Special thanks to:
Altius Prod
Stéphane Schott (http://www.lyynkstudio.com/)
Studio Question de Son (http://www.questiondeson.com/)
Underground Records (http://www.undergroundrecords.fr/)
Garbage & Greg Kaplan (https://www.garbage.com/)"

Arturia announces the Synclavier V

Published on May 19, 2016 ARTURIA

Update: It's not clear if the Synclavier V supports sampling resynthesis (see above), although it does take the FM and additive synthesis with partials to a new level. For reference, you can find the history of features for the original Synclavier on Wikipedia here.

"Arturia announces the Synclavier V, the first recreation of the legendary digital synthesizer made in collaboration with Cameron Jones, the inventor of the original instrument.

The Synclavier V faithfully recreates the elite digital synthesizer/workstation that started it all, powering some of the biggest hits and film soundtracks of the early ‘80s with its unique rich, edgy sounds.

While the Synclavier V expertly brings this historic instrument to life, we’ve improved it dramatically by taking advantage of today’s processing power. We’ve also infused into it everything we’ve learned over 16 years of developing award-winning software synthesizers. The result is a thoroughly modern, cutting-edge instrument that stands alone among hardware and software synths alike.

Update: some details on the synth engine:

Timbres consist of up to 12 Partial Timbres
Much of the magic of the original Synclavier owed to the ability to build Timbres (presets) by creating and layering four completely different sounds or Partial Timbres to realize massive, complex sounds. With the Synclavier V, we’ve taken the number of Partial Timbres to 12, dramatically expanding the creative possibilities. Since each Partial Timbre is a complete sound, that means that you can stack many different sonic elements into electrifying Timbres resounding with rich complex textures brimming with subtleties.

Partial Timbres are each compete synth engines
Each of the 12 Partial Timbres has two digital oscillators that combine the principles of both additive and frequency modulation (FM) synthesis. Rather than using filters to subtract harmonics from simple oscillators, additive synthesis builds up complex sounds by selectively adding harmonics in this case. The Synclavier V goes way beyond that, combining these oscillators in an FM architecture where the carrier (main) oscillator is modulated by the second harmonic oscillator. The fusion of additive and FM technologies make for a stunningly diverse and unique universe of cinematic pads, epic leads, evolving bass lines and more.

Time Slices animate long passages
Time Slices allow you to specify up to 50 snapshots of the 12 Partial Timbres of additive and FM synthesis goodness, and animate through them over time. For each Time Slice, you can set the volume, pitch, FM modulation amount, and delay. The ability to set parameter crossfades of up to 30 seconds between Time Slices—over a total time of 5 minutes—makes it possible to create long evolving ambient pads and cinematic cues of incredible complexity.

Improvements make a great instrument even greater
We’ve made a lot more improvements beyond boosting the sound engine from four Partial Timbres to 12. Where the original modulation oscillator was only a sine wave, now you can also choose sawtooth, square, or triangle—or graphically build your own waves comprised of 24 phase-controllable harmonics. These enhancements allow you to create outrageous textures never possible before. Each Time Slice can now even have a separate FM modulator waveform. Variable bit depth between 4- and 24-bits, on-board effects, and a MIDI Learn feature are just some of the many examples of the new options available to you in Synclavier V.

With the Synclavier V, digital synthesis meets total creative and performance expression.
Sure, all synths have LFOs, but the vibrato section of the Synclavier V is exhaustive, giving you control over LFO attack, phase, quantizing, bias and more. Things get even more interesting when you apply the LFO to the FM harmonic oscillator that, in turn, modulates the carrier. Let that sink in for a minute!

Want to take your listeners on an animated journey? Add extra energy to your pads and soundscapes with the stereo modulation section. It actually takes the form of separate linkable tremolos for each channel, making for unique spatial animation effects that will have everybody’s heads spinning.

Imagine performing with expressive nuances never possible before. Press harder on the keyboard to change the amount of FM modulation. Ride the expression pedal to affect the frame speed of your Time Slices. Grab the mod wheel to rock the FM modulation ratio. These are just some examples of what’s possible when you use the modulation matrix to easily map any of your favorite MIDI controllers to dozens of sound engine parameters—discretely for each Partial Timbre."

You'll find Arturia's page on the Synclavier V here, and Synclavier Digital's website here.

Update: the official press release for the entire V Collection 5 [Note: The Analog Lab press release below was the first to go up. Apologies for the all the updates, but this is how it comes in, and posts here on MATRIXSYNTH are about capturing that]:

"Arturia advances industry-standard V Collection of virtual classic keyboards

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of V Collection 5 — the latest incarnation of its impressive industry-standard collection of authentic-sounding virtual instruments, expanded and updated to include five all-new additions alongside new versions of ‘old favourites’ (plus Analog Lab 2) — as of May 19…

With no fewer than 17 virtual instruments that recreate hard-to-source synthesizers and classic keyboards, V Collection 5 represents really remarkable value on many musical levels. At an attractive monetary level, it’s a no-brainer! Bringing something special to the 21st Century performance and production table, five all-new authentic-sounding additions lead this latest V Collection charge.

B-3 V beautifully recreates the distinctive tones of the B-3 tonewheel organ, one of the most iconic and influential instruments of all time. It truly transcends time and place by bringing this still-sought-after sound to the computer-based music-making masses. Meanwhile, Farfisa V virtually puts players in the driving seat of the sound that drove the hits of several decades as a superb software simulation of the famous Farfisa Compact Deluxe organ. Pushing the physical boundaries of an acoustic piano, Piano V meticulously models the sound and behaviour of one of the most important instruments history has yet thrown up — albeit not as one but rather nine virtual instruments rolled into one! An authentic-sounding software simulation of the Seventies-vintage Stage and Sixties-vintage Suitcase 73-key electric pianos, Stage-73 V is the sound of the Sixties, the sound of the Seventies… the sound of today, the sound of tomorrow! Thanks to Arturia’s close collaboration with original Synclavier® software developer Cameron Jones, Synclavier V takes everything the trailblazing Synclavier® could do as the most powerful additive and FM synthesizer ever created and makes it more powerful!

Put it like this: thinking about all those thousands of new sounds and styles in V Collection 5 that are available at the touch of a (virtual) button beggars belief, but Arturia’s aim is true… to create the tools that lend a helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow. The 12 remaining virtual instruments in V Collection 5 — ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V analogue synthesizers; Prophet VS digital synthesizer; Wurli V electric piano; VOX Continental V electronic organ; and Solina V string machine — do just that, too. All are updated with resizable (Retina/4K-compatible) GUIs that truly have to be seen to be believed! But digging deeper, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — naturally features across the board. As does AU, AAX, VST2, and VST3 compatibility, standalone operation, plus MIDI Learn (to easily map all parameters to a MIDI CC).

Continuing Arturia’s quest for absolute authenticity through TAE® (True Analog Emulation), physical modelling, and additional technologies, anyone prepared to dig deep into V Collection 5’s treasure trove of hard-to-source synth and classic keyboard recreations will be musically rewarded in kind. Conversely, Analog Lab 2 is a powerful yet painless way of accessing a broad selection of sounds from across V Collection 5 within a single application. As it supports Arturia’s many MIDI controller devices natively, it adapts to reflect their physical controls when they are connected… connect with V Collection 5, then, and accept Arturia’s helping hand to today’s musicians, taking inspiration from the past to (re)invent the music of tomorrow!"

The Analog Lab press release:

"Arturia advances Analog Lab composite virtual instrument to include V Collection 5 sound selection

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Analog Lab 2 — an all-new incarnation of its composite virtual instrument that gathers together a broad selection of sought-after sounds from its V Collection 5 software bundle — as of May 19...

Analog Lab 2 is a powerful yet painless way of accessing a sought-after selection of sounds from all 17 of Arturia’s authentic-sounding virtual instruments as a single application. Included are sounds from eight emulated analogue synthesizers (ARP 2600 V, CS-80V, JUP-8V, Matrix-12 V, Mini V, Modular V, Prophet V, and SEM V), two digital synthesizers (Prophet VS and Synclavier V), two electric pianos (Stage-73 V and Wurli V), an acoustic piano (Piano V), and three electronic organs (B-3 V, Farfisa V, and VOX Continental V). Those virtual instruments recreate hard-to-source hardware synthesizers and classic keyboards of the past and conveniently transport them to the present-day desktop.

Analog Lab 2 invites instant exploration as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Its redesigned, resizable (Retina/4K-compatible) GUI (Graphical User Interface) is as easy on the eye as it is to use. Studio View shows the original historic hardware, helpfully bringing up the best presets from each instrument in question. But there’s a whole lot more to Analog Lab 2 than good looks alone.

Accessing those sought-after sounds at the speed of sound is simple, thanks to a new preset browser. Browse presets by TYPES, BANKS, sonic CHARACTERISTICS, and INSTRUMENTS (crossing categories). Create PLAYLISTS. Or simply Search for presets by NAME. Needless to say, with 4,500-plus presets to choose from there’s always a sound to suit every mood, every ambiance, and every music style — sounds that transcend time and fashion.

For those wishing to dig deeper then the dual-instrument MULTI feature with independent MIDI settings panel for each instrument will make their musical day. Drag and drop splits and layers of those presets to take ownership of the sound. Sounds and Multis can be organised in the PLAYLISTS area for instant recall via program change messages, making Analog Lab 2 a best friend in the studio and a pillar of live performance.

Put simply, Analog Lab 2 is so much more than just a sound library. It’s a substantial sound design tool and an amazing live performance instrument integral to immeasurably improving everyday workflow. When connected to one of Arturia’s many MIDI (Musical Digital Instrument Interface) controller devices, Analog Lab 2 will automatically adapt to reflect their physical controls. Generic MIDI controllers of course can also be used with MIDI learn to easily map all parameters to a MIDI CC (Control Change).

Changing the sound of Analog Lab 2 is even easier thanks to two EFFECTS slots with pre/post fader switch per instrument. Included Bitcrusher, Chorus, Delay, Destroy, Dub Delay, Eq4, Flanger, Overdrive, Phaser, Pitchshift, Reverb, Roundpanner, and Vocal Filter effects ensure that Analog Lab 2 always sounds the way you want it to.

Take your sound and workflow to another level with Analog Lab 2, an easily-accessible environment at an easy-to- swallow price point. What’s not to like?"

Arturia B-3 V Tutorial

Published on May 19, 2016

"The B-3 V delivers the most authentic tonewheel organ and rotary speaker experience you’ll find anywhere, plus customizations that open up new creative opportunities."

"Arturia pulls out all the software stops to realistically recreate tonewheel organ combo classic

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of B-3 V — an authentic-sounding software simulation of the classic B-3 tonewheel organ and Leslie rotary speaker combo — as of May 19...

B-3 V realistically recreates the special sound of the B-3 tonewheel organ. One of the most iconic and influential instruments of all time. One which has graced many of the greatest recordings of all time. Today Arturia brings this to its award-winning Analog Classics family of virtual instruments that recreate hard-to-source synthesizers and classic keyboards.

Keyboard players have made their mark in all forms of popular music with the B-3, back from its inception in the Fifties way past its discontinuation through to today. Procol Harum’s hit ‘A Whiter Shade Of Pale’ proved particularly memorable with a melancholic countermelody displaying an altogether softer side to the B-3. But raucousness remains the order of the day for the blues, jazz, and gospel genres with which it first found favour. After all, it had historically been aimed at churches as a more compact and affordable alternative to conventional pipe organs.

One saying springs to mind: Pulling out all the stops — to hold back nothing — is an allusion to organ stops being pulled out to turn on each set of sounds in a pipe organ. The B-3 effectively ‘emulates’ this with its drawbars. Doing this and a whole lot more is what B-3 V does best, thanks to Arturia pulling out all the software stops to make it happen!

Thirties-developed tonewheel technology originally made that special sound happen. An electronic current is created when rotating a metal tonewheel near an electromagnetic pickup and amplifying that signal. The B-3 has 91 of those tonewheels with each key connected to a fixed set of tonewheel outputs. Drawbar settings control how these are mixed together. The tube preamplifier subsequently shapes the sound a little further — filtering and distortion take hold here — while factoring the position of the expression pedal. This not only acts as a volume control but also affects the frequency response of the preamp which is connected to a speaker.

Speaking of which, B-3 V faithfully simulates the favoured Leslie tone cabinet, containing a power amplifier that drives a rotating horn and a stationary woofer firing into a rotating drum reflector. Spellbinding spatial and frequency-shifting effects above and beyond the sound-shaping effects of commonplace loudspeakers are all perfectly possible!

B-3 V brings this classic combo — complete with the inherent imperfections that made that tonewheel technology sound so unique — to the present-day desktop as an AAX-, AU-, VST-, and VST3-compatible plug-in in any DAW (Digital Audio Workstation) or as a standalone version. Visually, things couldn’t get clearer, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Under the hood, things couldn’t be better with MIDI control of many parameters and insert slots for ANLALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASE effects, as well as ADVANCED SETTINGS for upper and lower manuals and rotary speaker behaviour. B-3 V boasts a built-in step sequencer, allowing anyone to easily set an amount of modulation for each step of the sequence! Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) allows advanced integration with B-3 V.

All of the benefits of the original iconic instrument are available to modern music-makers with B-3V, but without the heavyweight hassles. Where anyone chooses to take it musically is anyone’s guess, but bet your bottom dollar that special sound will be being heard for many more years to come... courtesy of B-3 V!"

Arturia Stage-73 V Tutorial

Published on May 19, 2016

"The Stage-73 gives you actual authentic modeling of both Stage and Suitcase versions of the most popular electric piano on the planet —completed with unparalleled control of virtual mechanics, a complement of effects pedals, and built-in classic amps."

https://www.arturia.com/products/analog-classics/analoglab/overview

Update: And the official press release for the new Farfisa-V:

"Arturia augments Analog Classics collection with faithful Farfisa Compact series software simulation

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce availability of Farfisa V — faithfully modelling the famous Farfisa Compact Deluxe electronic organ with additional features from its Duo Compact series sibling — as of May 19...

Arturia’s award-winning Analog Classics family of virtual instruments recreate hard-to-source synthesizers and classic keyboards. As a worthy addition, Farfisa V virtually puts players of today in the musical driving seat with a still-sought-after sound that drove the hits of several decades: Farfisa’s famous Compact Deluxe electronic organ, one of a series of iconic instruments manufactured in Italy between 1964-1968. A staple of Sixties-produced popular music, they made their musical mark with a wider-ranging sound than that of their main VOX Continental competitor. With more bass waveforms and an expanded percussion and vibrato section sales soared.

Speaking sonically, Farfisa Compacts are almost more top octave synth-like than organ-like, thanks to a rudimentary envelope that allows for attack and decay control that went way beyond the typical organ sound of its day. Little wonder, then, that they proved popular with musicians throughout the Sixties (‘Sam The Sham’ and The Pharaohs, Percy Sledge), Seventies (Jean-Michel Jarre, Kraftwerk), Eighties (B-52s, Blondie), and beyond. But unlike heavyweight Hammond tonewheel organs, transportation to performances was trouble-free. For the fortuitous Farfisa form factor included integrated legs that could be folded up and stored within the body of the instrument itself, surely sealing many purchasing deals!

Today, though, finding and maintaining an original Farfisa has become both difficult and costly. Farfisa V solves such problems by bringing all the benefits without any of the hassles to the present-day desktop! Developed using an original hardware organ for reference, it meticulously models the original circuits and sounds of the famous Farfisa Compact Deluxe. Features from its Duo Compact series sibling are also included alongside an authentic combo amp simulation. Standalone instrument operation on Mac OS X and Windows is a given for performance purposes. Plug-in support for all major formats inside any DAW (Digital Audio Workstation) with easy MIDI-learn functionality provides hands-on control of many of its parameters and automation support for considerable creative control. Naturally, Native Instruments’ new NKS® (NATIVE KONTROL STANDARD) — allowing advanced integration with third-party software instruments — is there for the taking.

As always, recreating an instrument in software provided an opportunity to add a number of more advanced features fit for the 21st Century. Cue the special USER WAVE position, allowing anyone to create an additive waveform. Why not use the ToneDraw feature to create a new waveshape based on the graphical look of the sliders? Having modelled the original built-in spring reverb, Arturia added other reverb IRs (Impulse Responses). Reorder the additional ANALOG DELAY, CHORUS, FLANGER, OVERDRIVE, and PHASER effects. Easily-accessible individual voice tuning, PARA (paraphonic) and POLY (polyphonic) modes, ATTACK and RELEASE envelopes for upper and lower keyboards, BASS WAVE (waveform selector), TONE control for bass section, TREMOLO SYNC, and REPEAT SYNC round out this all-new Analog Classic. Hearing is believing. So is seeing, thanks to the resizable (Retina/4K-compatible) GUI (Graphical User Interface) that’s as easy on the eye as it is to use.

Ultimately, then, whether you’re set on recreating a distinctive and powerful organ sound of the past or forging ahead with a new organ sound of the future, Farfisa V does it all. But best of all... legs no longer play a part in sealing this must-have musical deal!

8-Bit ARP Odyssey?? An exploration of the Soulsby Odytron

Oscillator Sink

"The Soulsby Atmegatron is a synth I have woefully neglected as of late, so in an attempt to reignite my enjoyment of this little 8-bit friend, I flashed it with an alternative firmware transforming it into the Odytron.

The Odytron is a true 8-bit emulation of the iconic ARP Odyssey... which sounds like an idea that bridges madness and genius! In this video we take a relaxed sonic stroll through the synth's features and go on to build a few patches to see if it captures the soul of its analogue inspiration within its 8-bit digital heart!

Here are the songs I mentioned in the intro:"



Soulsby Atmegatron Song - Sink's Theme
Soulsby Atmegatron Song - Dungera's Theme
Soulsby Atmegatron Song - Seavari's Theme
Soulsby Atmegatron Song - Aireo's Theme

Soulsby Atmegatron Song - Sink's Theme

Published on Oct 21, 2017 Oscillator Sink

"I arrived home a few nights ago with a chord progression stuck in my head. It had a definite 8-bit vibe to it, so what better synth than the amazing Soulsby Atmegatron to use it with!

Everything you hear (including the drums) is coming from the Atmegatron using its 'default' firmware. Very little processing has been applied during mixing - basically nothing more than rolling some bottom end off a few sounds, so it's pretty much Raw Atmegatron you're hearing!

I hope you enjoy it - I had a blast composing and recording it!

The visualisation is done with the excellent "PrettyScope" from SoundMote: https://www.soundemote.com/prettyscope

http://www.oscillatorsink.com"

Bastl Basil Delay Module - Video Manual and Patch Examples

video upload by Oscillator Sink

"Basil, from Bastl, is a stereo time-based effect module that runs on their Pizza platform (if you own a Pizza you can turn it into Basil via a firmware update).

It is, capable of traditional delay and echo sounds as you might expect, but through its wide ranging controls, CV, and a selection of parameters which modify the behavior of the two delay lines you can find chorus, flanging, comb filtering, pseudo reverbs, lo-fi effects and more - and all in stereo.

In this video I've aimed for the first part to act as a kind of video manual going over each of the features in turn. That's followed by a number of example patches which can hopefully show the module in context, showing some of its versatility.

Basil is a module with a lot of hidden depth, so this video is, predictably, pretty long. To help you navigate to the material you're interested in, I've added extensive chapter markers so feel free to jump around to find the info and sounds you're after.

Transparency notice: the Basil module was provided to me by Bastl for free for the purposes of making content about it. I was not otherwise paid and Bastl did not request, nor were they given any editorial oversight."

Chapters:
00:00:00 Intro
00:01:34 I/O
00:02:37 Introducing the front panel (and a note about CV control)
00:03:47 Delay Knob (Time Mode)

CLICK FOR MORE »

Korg Volca FM Patch Pack 02 (Percussive) - FREE!

Published on Jan 4, 2018 Oscillator Sink

"Here's my second free patch pack for the Korg Volca FM! It's centred around percussive sounds, so expect bonks, smacks, clangs, woody basses, glittering smashes and glitchy prangs!

You can find the downloads for the patches on my website: http://www.oscillatorsink.com"

Elektron Digitone Minijam - 2018-05-28

Published on May 28, 2018 Oscillator Sink

"This Digitone jam is kind of a play in three acts - there are familiar characters throughout, but placed into new settings as the jam progresses!"

[Live Stream] Let's Make Music on the Digitone

ADDAC604 - Dual Filter - a little stereo filter that likes a little filth!

Oscillator Sink

"I bought the ADDAC604 Dual Filter module pretty much on a hunch - it fit the form factor and feature set that I was after but I struggled to find a demo so I had to just "trust" that I'd like it based on other filters in the ADDAC range.

So this video is the demo that I would have wanted to find before I made the purchase - hopefully it'll help you out if you're looking to pick up a stereo filter module some time soon!

Timings:
00:00 - Intro
00:38 - Features
03:20 - Mono Filter Sweeps
07:25 - Driving the Filter
10:14 - Mono to Stereo Upmixing with Filter Offsets
11:53 - Generic (albeit stereo) Acid Line
14:05 - Stereo Filtering
20:28 - Can We Track V/Oct?
21:46 - Pinging The Filter
24:11 - Parallel Bandpass Vocal Sounds
26:05 - Spectral Panning with a Single Channel
27:23 - Series Routing for Different Flavours
29:06 - Audio-rate Madness (pseudo-FM and percussion sounds)
32:11 - Final Thoughts"

"While developing our ADDAC105 4 Voice Cluster module we made a new multimode filter to place after the summing mix stage. We were so pleased with it’s sound that decided to release it as a dedicated filter.

To make it more interesting we duplicated its circuitry to be able to use it in a stereo signal path.

To make it more versatile we added a switch to set the working mode from Stereo to Dual Mono where both filters can be used independently.

In Stereo Mode the Left Cutoff is used to control the Right Cutoff.

In this case the Right Cutoff Knob and CV Input are simply bypassed and will have no impact on the Right Channel operation.

This allows immediate sync of both filter frequencies when the Stereo position is engaged.

Optionally there’s a jumper in it’s back that, when placed, connects the Right Controls back to the Right CV control allowing the possibility to control the offset of the Right Channel Cutoff.

Resonance is independent on both Modes and still has to be set manually to match both channels.

Both the Audio and CV inputs are normalled from the Left into the Right channels.
As standard plugging any input to the Right channels removes this connection.

This module will also be available as a full DIY kit.

Tech Specs:
6HP
4 cm deep
70mA +12V
70mA -12V'

Volca FM + Ditto X4 = loop fun!

Published on Feb 22, 2018 Slenterende Beer

"I decided to switch from the Ditto Stereo looper to the Ditto X4! I had the idea of doing an all-FM song, so this is what I did:

I programmed 4 short sequences on the Volca, heard in the following order at the start of the video: kick, hi-hat, snare and simple repeating melody. I then recorded a 1-bar loop of silence on the Ditto, to match the length of the FM sequences. After the length was set, I started recording loop 1 and played the 4 sequences, each time layering the loop (aka overdubbing).

I also recorded a 4-bar loop of silence (again, just to set the length), that I then started using for the bass line and chords. After those were recorded on loop 2, it was time for a little solo and playing with the looper effects.

The reason this is possible at all, is because the Ditto and the Volca are synced through MIDI, which was not possible with the Ditto Stereo. The Retrokits RK-004 sends the MIDI clock out to both devices.

Almost all Volca FM patches are from the "Percussive" and "FM Does Analogue" patch packs by the great Oscillator Sink.
YouTube: https://www.youtube.com/c/OscillatorSink
Patch packs: http://oscillatorsink.com/

Korg Volca FM
TC Electronic Ditto X4
Arturia Keystep
Miditech MIDI Thru/Filter
Retrokits RK-004
Behringer XENYX QX1002USB

Recorded with iPhone 7."

Conductive Labs NDLR: Creating Generative Music

Published on Apr 10, 2020 Oscillator Sink

"The NDLR can be a tricky device to classify. It is not a traditional sequencer, but it certainly does sequence. To call it an arpeggiator would be to undersell it significantly, but arpeggios are very much an intrinsic part of its DNA. It is obviously far away from a traditional midi controller but it offers hands on control over midi instruments.

So I think that maybe it's better to think about the NDLR in terms of how it influences your relationship with your instruments. When you use a keyboard controller, you are playing the role of performer. When using a sequencer your job is more that of composer, with the sequencer then in charge of the actual performance.

With the NDLR you are more acting like a band leader during a jam. You set up a musical environment with rules, and as the performance happens, you direct the flow of the music with broad strokes; the details are left up to the performers jamming away inside the NDLR.

This blurring of the line between composer and performer really speaks to my interest in generative music so in this video, starting with a blank slate, I look at how you can use the NDLR to create generative music, taking an in-depth look at some features that I think are really cool when working in that kind of environment.

Here's Loopop's video on the NDLR:" [posted here]

You can find additional posts featuring the NDLR here.

Arturia Minibrute 2S - One Box Techno Jam - Patch Walk-Through

For those interested, a walkthrough for Oscillator Sink's Arturia Minibrute 2S - One Box Techno Jam has been added here.

Understanding Sound Design on the Volca FM - Episode 3: Envelopes

Published on Oct 17, 2017 Oscillator Sink

"Welcome to the third episode in the series where we dive into sound design and patch creation on the Korg Volca FM. In this episode we talk about the incredibly powerful and flexible envelopes."

All parts here.

Soulsby Synthesizers Atmegatron - First Impressions (No Talking)

Published on Oct 11, 2017 Oscillator Sink

"I've just picked up a Soulsby Synthesizers ATMEGATRON (best name ever). An unashamedly 8-bit synth that does pretty, shiny, gritty, chip-tuney, bitcrushy sounds. It's ace. There'll be a full demo soon, but for now, here's a little exploration of just some of the sounds it has hidden away inside its colourful shell!"

#Synthuary2020 / #Jamuary2020 - 04

Surfing on the grains on Glasgow // #JAMUARY2020 Day 4

Published on Jan 4, 2020 DivKidVideo

See the Synthuary label for more. Synthuary because these are the Jamuary synth videos. More below.

"For Day 4 of #JAMUARY2020 I wanted to create a more realised musical piece. If you get the "Surfing on the grains of Glasgow" leave a comment ... I thought that was a fun (or totally lame - let me know) title.

This piece is based on the audio left in the buffer of arbhar from this video - [posted here] - with lots of modulation from ochd that keeps the audio grains shifting through the buffer, in drifting intensities, with vary lengths and grain shapes we get a beautiful repurposing of 3 basic guitar chords with a few plucked strings in-between. There's 3 FX chains running from this that's all brought together as a stereo mix in the Eurorack system before recording."

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Synthmata - Free Online Patch Editor for Volca FM and DX-7

Published on Nov 12, 2017 Oscillator Sink

"I've built a free online Volca-FM and DX-7 patch editor that runs entirely within the browser (Chrome or Opera currently supported).

https://synthmata.com/volca-fm/

It gives you full control over all of the parameters and makes it tremendously easy to share and save your patches.

If you're a synth maker or a web developer who'd like to work with me to bring support to more synths, hit me up on oscillatorsink(at symbol)gmail.com"

Understanding Sound Design on the Volca FM - Episode 7: Operator Scaling

Published on Nov 29, 2017 Oscillator Sink

"Here's the seventh episode in the series where we explore sound design and patch creation on the Korg Volca FM. In this episode we take a look at a much misunderstood, but eminently powerful tool: operator level scaling."

All parts here.

GFI System Specular Reverb v3 - Synth Demo [No Talking] Feat. Korg Monologue

Published on Sep 16, 2018 Oscillator Sink

"The GFI Specular Reverb v3 is a digital reverb pedal with 7 modes based around a reverb algorithm that's especially well suited to lush ambient washes. The modes are Spatium (the basic algorithm), Modulated, Shimmer, Echo, Tremble, Voices and Infinity.

The controls are kept simple so that anyone can pick it up and get going but have a wide range allowing you to take things over-the-top when the mood takes you (and it will - it really shines when working at the outer-reaches of its controls).

In this demo I pair it with a Korg Monologue. I keep the patches simple to let the Specular do the talking (but hey, doesn't the Monologue sound cool with a bunch of reverb on it?)."

Elektron Digitone Ambient Minijam - Peace in the Primes (#2HAC)

Published on Apr 9, 2019 Oscillator Sink

"This is my contribution to the most recent 2 Hour Album Challenge release run by Ben Burnes.

The theme for the challenge this time was 'Zen', and I took the opportunity to experiment with the idea of using overlapping sequences with prime number lengths so see how they would overlap and interact.

You can find this track, along with over 30 others on the 'Zen' album here: https://2hac.bandcamp.com/ - it's free to download, but if you want to make a donation, all proceeds are donated to a local cat shelter.

The Two Hour Album Challenge (2HAC) is a community-driven challenge to collectively start and complete an album of music in two hours.

At the start of the challenge, a theme is chosen randomly. Each participant then independently (or collaboratively) writes a song with that theme in mind using a strict time limit of two hours.

This album is free to download, proceeds from album purchases will go to the Angel of Hope animal rescue: www.aohrescue.org

More information can be found here: 2hac.abstractionmusic.com"